Komast figures (literally "revellers") on black-figure vases have long been associated with the worship of Dionysos and the origins of Greek drama. In this fully illustrated study, Tyler Jo Smith takes a fresh look at the evidence for komasts, both on vases and in other artistic media produced throughout Archaic Greece. She concludes that the meaning of the dancing figures differs between different regions, such as Corinth, Athens, and Laconia. Komasts are instrumental to the spread of the human figure in early Archaic Greek art and a vital link in the story of both visual and festival culture in Greece during the sixth century BC.

This book reveals the rewards of exploring the relationship between art and religion in the first millennium, and the particular problems of comparing the visual cultures of different emergent and established religions of the period in Eurasia - Buddhism, Hinduism, Zoroastrianism, Islam, Judaism, Christianity and the pagan religions of the Roman world. Most of these became established and remained in play as what are called 'the world religions'. The chapters in this volume show how the long traditions of studying these topics are caught up in complex local, ancestral, colonial and post-colonial discourses and biases, which have made comparison difficult. The study of Late Antiquity turns out also to be an examination of the intellectual histories of modernity.

In the eyes of posterity, ancient Rome is deeply flawed. The list of censures is long and varied, from political corruption and the practice of slavery, to religious intolerance and sexual immorality, yet for centuries the Romans' "errors" have not only provoked opprobrium, but also inspired wayward and novel forms of thought and representation, themselves errant in the broad sense of the Latin verb. This volume is the first to examine this phenomenon in depth, treating examples from history, philosophy, literature, psychoanalysis, and art history, from antiquity to the present, to examine how the Romans' faults have become the basis for creative experimentation, for rejections of prevailing ideology, even for comedy and delight. In demonstrating that the reception of Rome's missteps and mistakes has been far more complex than simply denouncing them as an exemplum malum to be shunned and avoided, it argues compellingly that these "alternative" receptions are historically important and enduringly relevant in their own right. "Roman error" comes to signify both ancient misstep and something that we may commit when engaging with Roman antiquity, whereby reception may even be conceived as "error" of a kind: while the volume ably addresses popular fascination with a wide range of Roman vices, including violence, imperial domination, and decadence, it also asks us to consider what makes certain receptions matter, how they matter, and why.

Die Studie rekonstruiert die Lebensschicksale zehn deutscher Altertumswissenschaftler, die nach der Machtubernahme durch die Nationalsozialisten aufgrund ihrer judischen Herkunft oder ihrer "politischen Unzuverlassigkeit" nach den Bestimmungen des am 7. April 1933 in Kraft getretenen "Gesetzes zur Wiederherstellung des Berufsbeamtentums" entlassen wurden und sich mit Unterstutzung zahlreicher judischer und nichtjudischer Hilfskomitees unter schwierigsten Bedingungen in den USA eine neue berufliche Existenz als Hochschullehrer aufbauen konnten: M. Bieber (Barnard, Columbia), K. Lehmann-Hartleben (NYU), E. Jastrow (Greensboro College), O. Brendel, K. von Fritz, E. Kapp, P. O. Kristeller (alle Columbia), E. Abrahamsohn (Howard Univ., Univ. of Washington St. Louis), E. M. Manasse (North Carolina College for Negroes) und P. Friedlander (UCLA). Hierfur wurden erstmals die Archive der wichtigsten Hilfsorganisationen (v. a. Emergency Committee in Aid of Displaced German Scholars, Oberlander Trust) und der Universitaten sowie die Nachlasse der Emigranten und ihrer Unterstutzer akribisch ausgewertet. Dadurch erschliesst sich ein neues Kapitel der Wissenschaftsgeschichte, die Geschichte der Altertumswissenschaften in der Emigration.

This innovative, extensively illustrated study examines how classical antiquities and archaeology contributed significantly to the production of the modern Greek nation and its national imagination. It also shows how, in return, national imagination has created and shaped classical antiquities and archaeological practice from the nineteenth century to the present. Yannis Hamilakis covers a diverse range of topics, including the role of antiquities in the foundation of the Greek state in the nineteenth century, the Elgin marbles controversy, the role of archaeology under dictatorial regimes, the use of antiquities in the detention camps of the Greek civil war, and the discovery of the so-called tomb of Philip of Macedonia.

Studies of seals and sealing practices have traditionally investigated aspects of social, political, economic, and ideological systems in ancient societies throughout the Old World. Previously, scholarship has focused on description and documentation, chronology and dynastic histories, administrative function, iconography, and style. More recent studies have emphasized context, production and use, and increasingly, identity, gender, and the social lives of seals, their users, and the artisans who produced them. Using several methodological and theoretical perspectives, this volume presents up-to-date research on seals that is comparative in scope and focus. The cross-cultural and interdisciplinary approach advances our understanding of the significance of an important class of material culture of the ancient world. The volume will serve as an essential resource for scholars, students, and others interested in glyptic studies, seal production and use, and sealing practices in the Ancient Near East, Egypt, Ancient South Asia and the Aegean during the 4th-2nd Millennia BCE.

This important new study looks at the intersection of Greek and Egyptian art forms in the funerary sphere of Roman Egypt. A discussion of artistic change, cultural identity, and religious belief foregrounds the detailed analysis of more than 150 objects and tombs, many of which are presented here for the first time. In addition to the information it provides about individual works of art, supported by catalogue entries, the study explores fundamental questions such as how artists combine the iconographies and representational forms of different visual traditions, and why two distinct visual traditions were employed in Roman Egypt.

From thousands of fragments of plaster the author has assembled clues to the scheme of the wall painting in this royal palace destroyed by fire at the end of the thirteenth century B.C. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Carved for a Roman city prefect who was a newly baptized Christian at his death, the sarcophagus of Junius Bassus is not only a magnificent example of "the fine style" of mid-fourth-century sculpture but also a treasury of early Christian iconography clearly indicating the Christianization of Rome--and the Romanization of Christianity. Whereas most previous scholarship has focused on the style of the sarcophagus, Elizabeth Struthers Malbon explores the perplexing elements of its iconography in their fourth-century context. In so doing she reveals the distinction between "pagan" and Christian images to be less rigid than sometimes thought. Against the background of earlier and contemporary art and religious literature, Malbon explicates the relationship of the facade's two levels of scenes depicting stories from the Old and New Testaments, the connection between the scenes on the facade with those on the lid and ends of the sarcophagus, and the integration of pagan elements within a Christian work. What emerges is a carefully constructed iconographic program shedding light on the development of early Christian art within late antique culture. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

How have two-dimensional images of ancient Greek vases shaped modern perceptions of these artefacts and of the classical past? This is the first scholarly volume devoted to the exploration of drawings, prints, and photographs of Greek vases in modernity. Case studies of the seventeenth to the twentieth century foreground ways that artists have depicted Greek vases in a range of styles and contexts within and beyond academia. Questions addressed include: how do these images translate three-dimensional ancient utilitarian objects with iconography central to the tradition of Western painting and decorative arts into two-dimensional graphic images carrying aesthetic and epistemic value? How does the embodied practice of drawing enable people to engage with Greek vases differently from museum viewers, and what insights does it offer on ancient producers and users? And how did the invention of photography impact the tradition of drawing Greek vases? The volume addresses art historians of the seventeenth to twentieth centuries, archaeologists and classical reception scholars.

In recent years, there has been intense debate about the reality behind the depiction of maritime cityscapes, especially harbours. Visualizing Harbours in the Classical World argues that the available textual and iconographic evidence supports the argument that these representations have a symbolic, rather than literal, meaning and message, and moreover that the traditional view, that all these media represent the reality of the contemporary cityscapes, is often unrealistic. Bridging the gap between archaeological sciences and the humanities, it ably integrates iconographic materials, epigraphic sources, history and archaeology, along with visual culture. Focusing on three main ancient ports - Alexandria, Rome and Leptis Magna - Federico Ugolini considers a range of issues around harbour iconography, from the triumphal imagery of monumental harbours and the symbolism of harbour images, their identification across the Mediterranean, and their symbolic, ideological and propagandistic messages, to the ways in which aspects of Imperial authority and control over the seas were expressed in the iconography of the Julio-Claudian, Trajan and Severii periods, how they reflected the repute, growth and power of the mercantile class during the Imperial era, and how the use of imagery reflected euergetism and paideia, which would inform the Roman audience about who had power over the sea.

The Late Mannerists were Athenian vase-painters working in the fifth century BC. They specialized in shapes used during the symposium, and had a particular flair for story telling. Their unusual style of painting combines elements of the Late Archaic period with characteristics of the Classical period.

The study of Greek and Roman Art and Architecture has a long history that goes back to the second half of the 18th century and has provided an essential contribution towards the creation and the definition of the wider disciplines of Art History and Architectural History. This venerable tradition and record are in part responsible for the diffused tendency to avoid general discussions addressing the larger theoretical implications, methodologies, and directions of research in the discipline. This attitude is in sharp contrast not only with the wider field of Art History, but also with disciplines that are traditionally associated with the study of Greek and Roman Art and Architecture, like Classics and Classical Archaeology. In recent years, the field has been characterized by an ever-increasing range of approaches, under the influence of various disciplines such as Sociology, Semiotics, Gender Theory, Anthropology, Reception Theory, and Hermeneutics. In light of these recent developments, this Handbook seeks to explore key aspects of Greek and Roman Art and Architecture, and to assess the current state of the discipline. The Handbook includes thirty essays, in addition to the introduction, by an international team of leading senior scholars, who have played a critical role in shaping the field, and by younger scholars, who will express the perspectives of a newer generation. After a framing introduction written by the editor, which compares ancient and modern notions of art and architecture, the Handbook is divided into five sections: Pictures from the Inside, Greek and Roman Art and Architecture in the Making, Ancient Contexts, Post-Antique Contexts, and Approaches. Together, the essays in the volume make for an innovative and important book, one that is certain to find a wide readership.

Ever since the sculptures from the Parthenon arrived in England at the beginning of the last century, they have caused controversy. Based on a detailed study of both original records and recent discoveries, Lord Elgin and the Marbles is the authoritative historical account of the extraordinary circumstances in which the Elgin Marbles were acquired, of the tremendous impact which they made on modern appreciation of Greek art, and of the bitter reaction of Napoleon, Byron, and many others to their appropriation.

In the last chapters of this book, William St. Clair now adds further fuel to the controversy by revealing for the first time some disturbing details about the treatment of the Marbles while in the British Museum's care, and of the British Museum's response to public concerns about this important cultural artefact.

Epigraphy, or the study of inscriptions, is critical for anyone seeking to understand the Roman world, whether they regard themselves as literary scholars, historians, archaeologists, anthropologists, religious scholars or work in a field that touches on the Roman world from c. 500 BCE to 500 CE and beyond. The Oxford Handbook of Roman Epigraphy is the fullest collection of scholarship on the study and history of Latin epigraphy produced to date. Rather that just a collection of inscriptions, however, this volume seeks to show why inscriptions matter and demonstrate to classicists and ancient historians how to work with the sources. To that end, the 35 chapters, written by senior and rising scholars in Roman history, classics, and epigraphy, cover everything from typograph to the importance of inscriptions for understanding many aspects of Roman culture, from Roman public life, to slavery, to the roles and lives of women, to the military, and to life in the provinces. Students and scholars alike will find the Handbook a crritical tool for expanding their knowledge of the Roman world.

Buried in the 14th century BC but unearthed by Howard Carter in 1922, the objects entombed with Tutankhamun are an invaluable window into a long-extinct belief system. Seen today, they create an intricate picture of how the ancient Egyptian people viewed the perilous journey to paradise, a utopian Egypt that could only be entered following the final judgment. When acclaimed photographer Sandro Vannini started his work in Egypt in the late '90s, a technological revolution was about to unfold. Emerging technologies enabled him to document murals, tombs, and artifacts in unprecedented detail. Using the time-consuming and strenuous multi-shot technique, Vannini produced complete photographic reproductions that revealed colors in their original tones with vivid intensity. Through these extraordinary images, we discover the objects' quintessential features alongside the sophisticated and cleverly hidden details. In collaboration with a series of international exhibitions, starting with King Tut: Treasures of the Golden Pharaoh at the California Science Center in March 2018, this comprehensive guide marks the centenary of Carter's first excavations in the Valley of the Kings. These inestimable works endure through Vannini's photographs in their full, timeless splendor. From offerings and rituals to Osiris and eternal life, Vannini's portfolio covers all facets of ancient Egyptian culture-but it is Tutankhamun's unique legacy that dominates these images. With texts by the photographer, captions by specialist Mohamed Megahed, and chapter introductions from scholars in the field, King Tut. The Journey through the Underworld puts much-debated mysteries to rest. The learned yet accessible forewords come from distinguished Egyptologists including Salima Ikram and David P. Silverman. Insightful narratives, resplendent images, and a contemporary standpoint make this title a fitting tribute to the Boy King's odyssey, illuminating an epoch that spanned an unimaginable 4,000 years.

Collectors, Scholars, and Forgers in the Ancient World focuses on the fascination which works of art, texts, and antiquarian objects inspired in Greeks and Romans in antiquity and draws parallels with other cultures and eras to offer contexts for understanding that fascination. Statues, bronze weapons, books, and bones might have been prized for various reasons: because they had religious value, were the work of highly regarded artists and writers, had been possessed by famous mythological figures, or were relics of a long disappeared past. However, attitudes towards these objects also changed over time: sculpture which was originally created for a religious purpose became valuable as art and could be removed from its original setting, while historians discovered value in inscriptions and other texts for supporting historical arguments and literary scholars sought early manuscripts to establish what authors really wrote. As early as the Hellenistic era, some Greeks and Romans began to collect objects and might even display them in palaces, villas, or gardens; as these objects acquired value, a demand was created for more of them, and so copyists and forgers created additional pieces - while copyists imitated existing pieces of art, sometimes adapting to their new settings, forgers created new pieces to complete a collection, fill a gap in historical knowledge, make some money, or to indulge in literary play with knowledgeable readers. The study of forged relics is able to reveal not only what artefacts the Greeks and Romans placed value on, but also what they believed they understood about their past and how they interpreted the evidence for it. Drawing on the latest scholarship on forgery and fakes, as well as a range of examples, this book combines stories about frauds with an analysis of their significance, and illuminates and explores the link between collectors, scholars, and forgers in order to offer us a way to better understand the power that objects held over the ancient Greeks and Romans.

Northumberland is the most prolific, varied and important area of rock-art in Britain. This book, which includes every known site, relates the art to its landscape and monumental setting. This work follows naturally from the author's general work on rock art, British Prehistoric Rock Art and his recent widely acclaimed book Northumberland: Power of Place.

From thousands of fragments of plaster the author has assembled clues to the scheme of the wall painting in this royal palace destroyed by fire at the end of the thirteenth century B.C. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Textiles were the second-most-traded commodity in all of world history, preceded only by grain. In the Ottoman Empire in particular, the sale and exchange of silks, cottons, and woolens generated an immense amount of revenue and touched every level of society, from rural women tending silkworms to pashas flaunting layers of watered camlet to merchants traveling to Mecca and beyond. Sea Change offers the first comprehensive history of the Ottoman textile sector, arguing that the trade's enduring success resulted from its openness to expertise and objects from far-flung locations. Amanda Phillips skillfully marries art history with social and economic history, integrating formal analysis of various textiles into wider discussions of how trade, technology, and migration impacted the production and consumption of textiles in the Mediterranean from around 1400 to 1800. Surveying a vast network of textile topographies that stretched from India to Italy and from Egypt to Iran, Sea Change illuminates often neglected aspects of material culture, showcasing the objects' ability to tell new kinds of stories.